Summary Of The Concert By Gerrit Van Honthorst

The focal point of the painting is the woman with infant. This is shown by the lighting in the painting being directly on her, the bright red that she is wearing, and the circling of the putti around her figure along with the majority of their gazes being directed at her. The bright light directly behind her and the infant could possibly be coming from the sun behind the clouds in the sky, the putti to her upper right holding the torch, or it could be symbolic in that it is the infant’s halo and representative of his divine nature. The overall piece is not overly dark but the lighting seems to be most focused on the woman, infant, her other children, and the flying putti. This is an example of tenebrism.

This is an effective use of focal area to draw the audience’s attention to the girl in the center. Another art principle of this painting is contrast. The main contrast is color. Elisabeth used warm colors and pastel colors to highlights Julie, and she used cool colors for the background behind. Besides, the girl is detailed while the background is simple.

All the figures in the painting are more natural and has very little amount of rigid shapes. Organic shapes are found throughout the entire piece. The lions, stone background, and Daniel himself appear three dimensional. Colors and value vary throughout this piece. Hues in this painting are white, green, red, orange, and tones of brown.

It shows the environment through the use of trees, grass, and a stream. In the first picture, three major elements discuss nature. These includes the landscape, presence of vegetation, and rivers. In the scenes, the painting shows altitudes through the view of the slope that slants towards the river. Also, through the focus on the objects in which nearer objects are bigger, while the further objects such as the people towards the river are small.

For example, the bright red on the hand, the head and what looks like the hair of the middle figure. In contrast, dull colours have also been used in the piece. These include, the warm orange circle around the head of the third figure. The painting also includes flat areas which are mostly around the top part of the piece. These flats are colours that are painted in a uniform or identical tone and hue, for example the top black body part of the figures and the cone shapes attached to their head are in uniform red, green, dark cyan colours. The coolness of the pink, purple and yellow in the mid-part of the bodies which, show birds and oceans, are contrasted with the warmth of the orange sky, the dark pink hill and the black in the top part of the bodies. this piece includes balance as well which has (is shown by) been used by distributing the visual weigh of objects, colours and space. Asymmetrical balance was also included which portrayed the different movements from the bottom of the piece, the feels, to the middle parts of the body where there are different movements of line to the top of the

The principles of design that are incorporated in this piece include contrast, emphasis, movement, variety, and unity. The artist utilizes contrast to differentiate each person illustrated in the painting. He wants to differentiate the plethora of emotions and actions displayed in the painting. Correggio's use of emphasis is seen through Jesus in the center of the painting. Since he is the center of the painting, it is also no surprise that he is the topic of it as well. He uses this technique to implement who the main character is. Antonio uses movement it convey the madness that occurred. Everyone is doing their own thing, pacing around on their own free will. His application of this is primarily seen through the man walking down the ladder. Variety is shown through the assortment of emotions and actions exhibited throughout the artwork. Finally, the characters as a whole create a uniform image, shown through his usage of unity. Each person in the painting contributes their own individual emotion,

The composition of the piece, unsurprisingly, places the most important figures closest to the viewer. Anthony is the clear focal point, as he is made larger than all other figures, leaving little doubt about his importance in the ensuing novel. The colors, as previously mentioned, are generally light and subdued. The poses of Anthony and the friar in the foreground are static, as they are watching the action unfold behind them. In contrast, the slave masters and slaves are seen in motion. Linear perspective is evident in the orthogonal lines made by the fence of the holding pin. This is the only instance of orthogonal in the piece, so it is unclear where the exact vanishing point is located. The gradual decreasing in size of the figures also adds to the linear perspective and depth of the painting.

2. Analysis of Form: The sitting woman is the center of interest with other components of the painting surrounding her. The painting is naturalistic. Asymmetry is used with the guitar in the upper right hand corner and the jug-like object in the lower left hand corner, cards, and the lamp. The colors surrounding the woman are warm with soft hues, but the dress she is wearing is a cool blue. It has a split complementary color harmony. The shadows casted on not only parts of the room, but also her face establish a defeated or exhausted mood. The woman is the focal point of the painting, which is emphasized by the contrast of the colors

Although the use of line and light is not as defined as the color scheme, they still play an important role in the overall organization of the painting. Gauguin uses curvilinear lines throughout this work with no right angles or sharp points. The outlines in the background are fairly blurry and some of the lines blend into one another. In contrast, the characters in the foreground are comprised of precise, sharp lines. Gauguin goes as far as lightly outlining the bodies with a dark line in order to give them a sense of depth. Light also serves to enhance certain aspects of the painting. Gauguin has been careful in his use of light to create some areas of brightness and some of darkness. The central figure glows in the bright light, which shines down on her from above. This light shows the importance of the decision of whether to pick the fruit or not. It is focused so directly on one area and is void in the others.

For example, the easily distinguishable arms and legs of the portrait stretches outward like strings of rubber band giving the painting a sense of flexibility. In addition, the multifariousness of colors denotes a sense of emotion. For instance, the color yellow, the focus point of the painting illuminates a feeling of energy and happiness. Whereas, red, the opposite of yellow stands out as anger and violence while blue complies with trust and peace. As a result, the painting embellishes the essence of diversity cause of the uniqueness of lines and colors. In other words, the lines of the painting depict the differences in shapes and forms of human; moreover, the colors illustrate the personality. The painting displays the connectivity of lines and colors as a whole because of the mixer from color to color, and lines link to one

Further more, in the painting, “the Gleaners”, the entire screen is filled with contrast elements. First of all, the main figures in the front labor scene are full of rich vigor, contrasting to the background with silent objects such as hay, trees and farmhouse. Secondly, the color brightness of the front contrast to the back, as well as the comparison of relative sizes between figures and scenery, applying the principle of perspective. What’s more, the most classic is the horizontal line, the intersection of the sky and the ground, contrasting with the light source, from the top left. Consequently, 2D and 3D spatial effects are combined precisely. Meanwhile, the sense of space of the image is strengthened as well.

In order to demonstrate these specific characteristics, Leger incorporates many different types of elements into this piece. In this painting, color plays an important role. The shapes of the blue squares contrast altogether with the other shapes and also, with the mutated beige background. Leger uses numerous colors such as the neon yellow, red, blue, black, and green in order to reveal that the colors are free and therefore, these colors exist in space. As mentioned earlier, this painting included a variety of different shapes; there are two different types of shape that can be seen in this painting. The first type is geometric or regular shapes such as the squares, circles, and rectangles. The second, on the other hand, are organic and freeform shapes such as the feet, hands, and face. Next, Leger incorporates many lines throughout this portrait. From curved lines to a single horizontal line, Leger includes each different type to develop a sense of movement, or rhythm. The curved lines makes the viewer’s eyes circle around the piece to further realize the symbolism. For space, Leger leaves many of the corner as negative space. However, the corners of this painting are not the only ones Leger leaves as space. Because the shapes and colors are kept simple, there’s also quite a series of distance between the shapes even throughout the whole entire painting. Again, because of the simplicity of the shapes, even the texture of this painting can be seen as smooth. The painting does not involve any harsh or rugged lines, and is

With both arms draped around his or her body, the figure fixedly, but calmly focuses on the ground, as if to both conceal and ponder. Light shines from above and illuminates the top upper portion of the figure’s back and front arm. The subject’s face is tucked just beneath the front shoulder, preventing direct light from hitting it. Another light source brightens a small portion of the lower image, just enough to see the figure’s arched foot and connect the subject’s gaze, to the object of the gaze. There is a third light coming in from the upper left corner. It is not as noticeable as the others, but it brightens the immensely dark background, making it seem to be a mix of brown and black. The third light also shines on the hidden portion of the figure’s face and casts a shadow from the subject’s hair to the face, directly above the eye. There is a path on the figure’s body, created by the subject’s musculature and shadows cast by the light. The first focal point (of the shadows) starts just underneath the shoulder and runs down the side to the hand resting on the waist; the muscle line then picks up again, running from the waist to the knee and again down to the foot almost disappearing in the shadows. (Gorman,

The piece is entirely covered with different colours to emphasize different aspects of the painting. Specifically, primary colours; mostly of yellow, red and blue. There are no light source and shadows, but rather, Eyre manipulates these three colours to create different tones. The

Now, I will analysis this painting on three art elements and three principles of design. The most significant element in this painting is color. Color acts as a vital role in many paintings. In this painting, it depicted the atmosphere of the restaurant. Analyzing this painting as a whole picture, I divided it into four corners evenly. The upper left corner is the group of people with two men at the back. The upper right corner is the walls of the restaurant with two women. The hue of both upper parts is tertiary blue-green mixed up with little secondary orange. Despite this, blue-green is still the predominant color on both upper parts. The bottom left corner is the railing. The right bottom corner is the floor of the restaurant and the woman with neutral black clothing. In regard to the details, the outline of the railing is in tertiary red-orange and the railing is in secondary orange. Among the group of people, the men at the left and the woman in the middle wear primary red and tertiary red-violet clothing respectively. The major hue of left bottom part is secondary orange, tertiary red-orange, and tertiary